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Vol. XVIII, '92-'93
Rooted in his own time, the poet interpretes the historical or mythological time, which is further represented by the actor on the stage and is re-visualised by the spectator. The treatment of time and space does not involve this multiplicity and variety of layers in any other art-form.
The above view of Nātya presents its concept in the context of its creative process. There is one more way to understand what Nātya is, i.e. by analysing its structure. Bharata says that there are five elements constituting Natya'?, while Kohala, his able student, further expands the idea of the fundamental elements of Nātya by suggesting the nātyasamgraha (the digest of theatre) which comprises the following eleven elements, and the treatment of these eleven elements forms the subject matter of the whole of the NS:
Rasa (Chap. VI) Bhāva (Chap. VII) Abhinaya (Chap. VIII-XXVI) Dharmi (Chap. XIII) Vrtti (Chap. IXX) Pravrtti (Chapp. XIII) Siddhi (Chap. XXVII) Svara (Chap. XXVIII) Ātodya (Chap. Chap. IXXX-XXXI) Gāna (Chap. XXXII) Ranga (Chap. II-III)
These elevan elements have been listed above in the same order as in a single kārikā of NS (VI.10)", indicating a continiuum, the sequential order therein working both from the right and the reverse sides completing the circuitous process of the manifestation of Nātya.
We have discussed the three levels of the creative process for materialisation of Nātya where the poet stands at the first end. He creates a play out of Rasa. The overpowering nature of Rasa oozing the heart of the poet leads him to the expression of bhāvas!“, projecting the dharmi the vrtti and the pravrtti of a particular play. The actor however, stands on the platform of the theatre. He is supported by the music, orchestra or songs and then he starts his abhinaya in accordance with the vrttis, the pravrttis and the dharmi respectively, ultimately reaching the expression of Rasa via bhāvas. The spectator also first sees the ranga the stage or the theatre - with its paraphernalia, and then is attuned to the musical notes or the orchestra, then grasps the vạttis and pravrttis of the play in performance and then ultimately realises Rasa. Thus, in the nātyasamgraha, the journey of Nātya starts from Rasa and ends in Rasa, the sequence of the employment of its various elements varying according to the requirements of the
